As much as the mainstream clamors for something truly unique and edgy, the minute they get it is the minute that they typically do not want it. It’s this cultural miasma where cult artists are born and a perfect example of this is the early 1980’s band, Gleaming Spires. The seeds of the Spires were first planted in a Los Angeles new wave rock band called Bates Motel, but it took the fertile ground of joining Sparks in 1981 to help sprout one of the better—albeit obscure—cult bands to have emerged out of the post-punk musical landscape.

While they were together for only handful of years, ending with 1985’s Welcoming a New Ice Age, new label Futurismo have been working with the two brilliant minds behind Gleaming Spires, vocalist and bassist Les Bohem and drummer David Kendrick on a re-release and remastering of their first album originally released on the legendary Posh Boy label, Songs of the Spires. Available as both a digital download, as well as 180 gram vinyl album (colored either lemon meringue or blue movie, depending on your preference), Songs of the Spires has never looked or sounded this good. It’s a pitch-perfect debut album with that mix of quirky humor, emotional angst and sonic layers that could have only come from the dynamic duo of Bohem and Kendrick.

So in honor of this release, here is an exclusive interview with the Spires themselves, the first since their final album in 1985.

What was the big inspiration early on to get into music? Was it anything encouraged or discouraged by your family?

Les Bohem: Well, I took guitar lessons when I was a kid – my mom’s family was deep into Pete Seeger and I saw him at a Unitarian church when I was maybe seven. I had a subscription to Sing Out and an older cousin who was very cool and knew about Bob Dylan. In fact, I can remember that we thought it was lame that Peter, Paul and Mary covered “Blowin In the Wind.” My first performance was said “Wind” at my grammar school graduation. Aldous Huxley was in the audience. He told my Mom I had a nice voice. This either means he was old and deaf, not paying attention, or was on Psilocybin.

The Beatles during my first year of Junior High and that was it. The Kinks, Them, the Stones, the Who – We did “Substitute” in my first band at the 8th grade talent show – American lyrics ‘cause we didn’t know any better. Then my folkie roots began to show and I wore striped T-shirts and a vest and glasses, which I didn’t need, so I could look like the Lovin’ Spoonful.

My mom was always forgiving and she tried hard to like what I was doing. My dad never really got it. I broke his heart a bit when I left college to become a rock star. Having both worked as writers in the movie business, they had a healthy suspicion of any career in the arts.

David Kendrick: Both of us had artistic families. My father was a sculptor. I won’t say I was “forced into music” but was definitely encouraged. I mean, I had a very loud drum set in my bedroom. I was in bands outside of school.

How did you two meet? What events led to the formation of Bates Motel?

Les Bohem: I formed Bates Motel with Bob Haag and Alan Slater somewhere around 77-78, and we added Bob Beland somewhere right after that. We had a drummer who was a friend of Alan and Bob Haag’s. He left to join another band and then Bob Beland left. We were playing around L.A. and I don’t remember how we put the word out for drummers. I feel like I’d met David once at the Troubadour before that. He wore funny shoes. He was the first really good drummer and still far and away the best that I have ever played with. I remember how good the songs sounded the first time we practiced with him. Alan was gone by now, by the way, since he formed another band, and we had added another guitar player, Dave “the Rave” Draves. He and Bob Haag were from Lancaster, a town about 60 miles into the desert from L.A. We practiced there in a studio space that was in an arcade, which had been owned by Judy Garland’s father. On the long drives up and back, David and I become friends quickly. We’d bring tapes of favorite songs. We’d talk about books, music. We were still young. We’d get heavy.

David Kendrick: Bates already existed. I joined after they fell for my lamppost drummer propaganda. I liked the film reference name too

It’s been written that the Mael Brothers discovered you after becoming familiar with Bates Motel. Where you fans of Sparks beforehand?

Les Bohem: It all begins with a screenwriter named Bill Kerby. I liked their album covers but had only heard a few songs. David, I believe, was the bigger fan. In those days, there was no place to get espresso in Los Angeles and the thing that David and I really bonded over was espresso. I had been going to the Belgian Waffle stand at the Farmer’s Market on Fairfax for years to have coffee with Bill, a writer who I’d met through my friend Miranda when they were dating. So this actually all begins with Miranda. Anyways, I would meet Bill for coffee mornings. Then, in the Bates days, a whole bunch of us would go in the afternoons and we would see Ron and Russell, who hung out there most afternoons. It was a celebrity sighting. “Look, it’s those guys from Sparks.” After a while, we developed one of those nodding relationships. One day, I went over to their table. We were trying everything to get signed and I thought that maybe they’d produce us. I said, “You guys are supposed to be the fathers of New Wave, how about you come see your kids,” or something equally lame and gave them a flyer to a show we were doing at Blackies, a club in Santa Monica. They came. They did not want to produce us. They asked us to be their band.

The term “New Wave” is one that was perverted from the starting gate. But in the haze of 80’s nostalgia, so many glom onto the most superficial awfulness of that messy decade. It’s all dayglo legwarmers and tinny Casio badness, but there was an incredible amount of bands with actual depth who could not be so easily pigeonholed into the commercially-safer-than-calling-it-post-punk category of “New Wave.” Perhaps no band quite fit this bill like a custom tux better than Gleaming Spires.

Founded by Les Bohem and David Kendrick, both of whom played together during the early 80’s incarnation of Sparks, which included some of the band’s best albums, especially Whomp That Sucker and Angst in My Pants. Face it, if the eternally cool Mael Brothers approve, then you know it is gonna be good!

Gleaming Spires, while best known for their song Are You Ready For the Sex Girls? which was featured on the 80’s T&A teen film, Revenge of the Nerds, made some very singular and unique music. Even Sex Girls, which on the surface may seem like your standard id-driven, dude-anthem about ultra-willing lasses, but scratch that surface and what you will find is a strange pop tune complete with animal noises and lyrics like, “are you ready for the lonely girls? The sad, sad sad lonely girls. They got time on their hands. They got skin like seals.” All neatly ensconced in what otherwise is a song that knowingly is swimming in a sea snarking on over-sexualised beer commercial type lyrics.

Even better is the music video for Sex Girls. Lacking what Mo Fuzz, Don Cornelius’ terrific character from Tapeheads, would call “production value,” the video centers on Bohem and Kendrick, wearing slacks and nice dress shirts underneath aprons. The two then proceed to make a lemon meringue pie from scratch, with the video ending on a shot of two pie slices and black coffee. That’s it! It is almost Artaud-like in its sheer willingness to not give the audience something that would actually fit the title of Are You Ready for the Sex Girls?. Flesh, giggles and curves, for your prurient viewing pleasure? Nope, you’re getting two dudes baking, complete with Bohem miming the lyrics with nary a lurid jeer, sleazy smile or ANY type of smile at all! It’s perfect.

From the satirical to the somber is their 1982 single, How to Get Girls Through Hypnotism. The title may reek of 60’s swinging kitsch, but the song itself is an electronic tone poem about loneliness and the shallow end of the dating pool. The video is appropriately spartan, with flashes of neon colored light in stark white rooms, while Bohem mimes the words with melancholic angst, shadowed by a sinister looking Kendrick. It’s as if the latter is some kind of haunting self-doubt revenant. A revenant whom, at the infernal build-up towards the end, shaves Bohem’s scalp bald under screaming red light.

How to Get Girls Through Hypnotism is the sad-tinged, minimalist answer to the early 80’s yuppie-fied love scene and what can happen when you fake the funk to not have to face the reality of you. One would be hard pressed to craft a better visual representation of such a simultaneously artificial but right from the cerebral gut song as this music video.

As far as songs go, one of the absolute strongest in Gleaming Spires’ short but starburst quality time as a band was their song, A Christian Girl’s Problem. This was actually the song that got me hooked into this band, all thanks to its use in the trailer for the Dark Brothers’ Bosch-meets-New Wave Porn trailer for their film, Devil in Miss Jones 3. The visuals for that might have been lust in the most Hell-racked-cinemascope but the song was so hook-laden and out-right tasty, that I would catch myself rewinding the trailer, just to hear it again.

The actual music video for the song is, disappointingly, just okay. There is some terrific use of chroma key and a Video Toaster-type editor, judging by the ultra-vibrant colors, plus a ghoulish, comic-book devil pops up, which is always nice. But the video ends up a bit muted by a wholly out-of-place gladiator concept, with the whole band dressed up like 3rd tier extras from Ben Hur while jogging in place. Novel, but definitely out of place.

In 1984, Gleaming Spires released the Party EP. Out of the six songs, only Funk for Children got an accompanying music video. The song is a cryptic anthem with a fitting video that is riddled with children’s percussive toys, ice cream trucks that alternately dispense sports equipment and musical instruments and has a strong undercurrent of school-aged gym angst. It’s an odd note but strangely fitting for a band that wiggled and shook off any notions of conventional musical chairs.

Gleaming Spires eventually broke up, with Kendrick joining DEVO after founding member Alan Meyers left and Les Bohem going into the film and television world, working on projects including 1989’s The Horror Show and the sci-fi mini-series, Taken. But as their work remains depressingly out-of-print, their mark remains. Few bands in the early 80’s took this kind of off road path and examined cartoonish sexual roles, the lonely hunting dating grounds and the ridiculousness of life itself like The Gleaming Spires. And this is why they should be loved.